Wes Bell’s series “Snag,” inspired by the death of his mother, takes a beautiful and simple idea and infuses an ordinary scene with great emotional power. There is beauty, loss and poetry in every frame. After 20 years in New York working as an international fashion photographer, Bell returned to his birthplace and to fine-art photography in Alberta, Canada.
In describing this work, Bell said: “Three years ago, I was leaving for the airport after saying goodbye to my mother. She was dying of cancer. On the long drive across the Alberta prairie, I found myself distracted by flapping remnants of plastic bags, caught in barbed-wire fences that lined the ditches. Whipped violently by the wind, they were left shredded and lacerated, but trapped nonetheless in the no man’s land of boundary fences, neither here nor there. Thinking about mortality, pain and death in the context of my mother’s terminal illness, these forgotten shreds of plastic took on a deeper significance — Snag.”
Loss and remembrance are universal, and Bell makes feeling those emotions accessible and visible.
Interesting read from NY Times written by Teju Cole. Teju Cole is the magazine’s photography critic and the author, most recently, of the essay collection “Known and Strange Things.” Read more in the full article!
Images make us think of other images. Photographs remind us of other photographs, and perhaps only the earliest photographs had a chance to evade this fate. But soon after the invention of photography, the world was full of photographs, and newly made photographs could not avoid semantic contamination. Each photograph came to seem like a quotation from the great archive of photographs. Even the earliest photographs are themselves now burdened by this reality, because when we look at them, we do so in the knowledge of everything that came after. All images, regardless of the date of their creation, exist simultaneously and are pressed into service to help us make sense of other images. This suggests a possible approach to photography criticism: a river of interconnected images wordlessly but fluently commenting on one another.
A photograph can’t help taming what it shows. We are accustomed to speaking about photographs as though they were identical to their subject matter. But photographs are also pictures — organized forms on a two-dimensional surface — and they are part of the history of pictures. A picture of something terrible will always be caught between two worlds: the world of “something terrible,” which might shock us or move us to a moral response, and the world of “a picture,” which generates an aesthetic response. The dazzle of art and the bitterness of life are yoked to each other. There is no escape.
If you have ever seen a Diane Arbus photograph you will remember it, and her very personal style. That can only be said about few photographers. Thank you Leif Skoogfors for sharing this interesting article.
Many photographers are posing on their selfies with a camera, this is only natural. I guess. As you can see also the top photographers have thought of the same idea for their work. I wish I could visit the exhibition to see some of my favorites. 🌞 Pelle
Ever so often I feel happy after I have seen a movie from India, France, Italy or from any other country when I don´t recognize the surroundings and/or the actors. Just as great is it seeing interesting photographs from India. More street photography from where the streets looks different. I found it in The Washington Post.
Amateur photographer presents new look at life in India
More often than not, photography coming out of India tends to focus on the “exotic.” We’ve seen the pictures many times before — people performing religious rites in the Ganges River or huge gatherings like the Kumb Mela. So it is refreshing to see work that diverges from this path. Swarat Ghosh’s photographs of street scenes in India do just that. Far from the spectacles we are used to seeing, Ghosh roams the streets transforming the ordinary and banal into the magical. With his photography, he takes us on a journey through found mini-dramas or tableaus that we might ordinarily miss if we’re not watching carefully enough.
Ghosh is not a professional photographer but an avid amateur and student of the medium. In his day job, Ghosh is a lead visual designer at a software company in Hyderabad. His earliest memory of photography was when he began following the work of several street photographers (including Kaushal Parekh and Prashant Godbole) based in India around 2012. His own journey into photography actually came about accidentally at that time when his wife gave him a camera that same year.
Being a music nerd myself I find these images wonderful. Some truly amazing images and stories to go with them. Some images are composed while other let you hear the wings of music history. All the way from Sinatra to Beastie Boys. And now Dylan is coming to Stockholm, still going strong.
“what makes his photographs so memorable: they’re surprisingly candid and humanizing in a way that’s often lost in more controlled photography settings. “I hate studio pictures,” he told Rolling Stone earlier this week. “I like everything out of control. Like myself!”